A Quote by Yvonne Rainer
I always like to cite John Cage's mantra, "If you can stand it for two-minutes, try it for four." In fact, when I look at some of those early films of mine, I think, "Oh my God. Cut it, cut it." The general sense of duration has changed over the years, my own sensibility with it.
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In crime fiction, I cut my teeth on early Robert Parker, Elmore Leonard, John D. MacDonald, and Alan Furst. I always loved the writing of Hemingway and Faulkner. Cormac McCarthy's 'Border Trilogy' has been a huge influence; I think I read those novels four times.
The first cut I do is usually between five and 10 minutes shorter then the cut that we release. Anything I think isn't working or might not work, I don't even put it in the director's cut. And usually it's the studio suggesting I put stuff back in, as opposed to studios saying, "You got to lose 40 minutes," they are always saying, "You've got to gain five minutes."
You see so many movies... the younger people who are coming from MTV or who are coming from commercials and there's no sense of film grammar. There's no real sense of how to tell a story visually. It's just cut, cut, cut, cut, cut, you know, which is pretty easy.
First of all, the first cut of the movie was like three and a half hours and I walked away going, 'Wow, I know there's like twenty minutes that I can cut - ' when I first saw it 'But I don't know after that.' The first time I put up then in front of people I was like, 'Oh, my God, I can take that out and that out and that out.'
I left L.A. and moved to Cleveland for four years in the early 2000s or whatever. I came back and thought that everything had changed. I was like, 'Oh my God, I don't think I ever fit in here. And wait, who are all of these celebrities that are not actors? Where did all of the actors go?'
I left L.A. and moved to Cleveland for four years in the early 2000s or whatever. I came back and thought that everything had changed. I was like, 'Oh my God, I don't think I ever fit in here. And wait, who are all of these celebrities that are not actors? Where did all of the actors go?
Oh, the dilemma of the summer music festival. On one hand, we ladies try very hard to look cute walking around those muddy fields in our cowboy boots and cut-offs. On the other hand, we want to look like we really didn't try at all and just rolled out of bed looking this way.
When I'm editing, I tend to cut, go back over it, cut, go back over it, cut, so by the time I'm done, even with a cut, I don't have a rough cut and then work on it so much. I have a pretty rigorous cut of the movie that's usually in the range of what the final movie is going to be. It doesn't mean I don't work on it a lot after that, but I get it into a shape so I feel I can really tell what it needs, or at least it's ready to show people.
I think if you look at Sam Raimi and Jim Cameron, those guys know things about filmmaking that almost nobody knows anymore. They are students of film from when they handmade films themselves, you know cut films with their own hands and razor blades and tape.
I think I have an obligation, to the people who have consented to be in the film, to make a film that is fair to their experience. The editing of my films is a long and selective process. I do feel that when I cut a sequence, I have an obligation to the people who are in it, to cut it so that it fairly represents what I felt was going on at the time, in the original event. I don't try and cut it to meet the standards of a producer or a network or a television show.
I go back to many films that I really love. Some Bresson, some Godard of the early times, the Cassavetes of those years I love. And the early Wim Wenders. But my own films I don't watch, unless I need them.
I was an extreme tomboy. I did competitive gymnastics for over 10 years. I cut my hair like Winona Ryder, with that little pixie cut.
I don't watch my own past films: when I watch them, I find they don't work very well, because I have changed. If I continue to make films, in fact, it is because I always want to repair my films. My inner rhythm has changed; I have changed. I have changed my way to film.
Coolidge cut the budget, and even better, cut it during peace and prosperity. He left a federal budget lower than the one that greeted him when he arrived in office. He managed to freeze or cut the budget over more than five years in office. If you look at charts of presidents - Nixon, Ike, and Reagan - you see them failing on this score.
Perseverance. I got cut twice. I got cut in Charlotte. I didn't have to go to Atlanta to audition. I could have said, "I'm not cut out for this." But I said, "I think I'm better than that, I can go try again." So I went to Atlanta and I made it through. Then I got cut the first time around. I could have told them I didn't want to come back for the Wild Card show but I did and look how far I got.
'Chandelier' took, like, four minutes to write the chords, then, like, 12-15 minutes to write the lyrics. Probably 10 or 15 minutes to cut the vocals.
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